This is one of the year’s best movies.
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A report on four documentaries from Sundance by Ebert Fellow Sara Alexandra Pelaez.
I have long had trouble enjoying live sporting events, concerts, and stage shows for three reasons. First, I would tire from watching the show from one single angle. Conditioned by movies, I need the variety of angles, the intimacy of close-ups and the sweep of tracking shots. Second, live events will never have the polish of a polished movie. And, third, (more applicable to large stage shows) the dialogue is always too enunciated and thus distant, even when it is "realistic."
April 20 - 24, 2005
SAVANNAH, Ga. – The chair moves. It truly does. It may not seem like a big deal to you, because you are a reasonable person who is not obsessed with “Citizen Kane,” but I have seen the movie perhaps 100 times, and analyzed it shot-by-shot in at least 30 sessions at festivals and in class, and I thought it contained no more surprises for me. The beauty of the shot-by-shot approach is that the theater is filled with other eyes watching the screen.
Here are some of the highlights, and otherwise, of the first four days at Sundance:
In the autumn march of film festivals, Chicago's comes after Montreal, Telluride and Venice, and is held at about the same time as New York. All of these festivals are essentially fishing in the same pond, so the remarkable thing about the 31st annual Chicago event is how many new or unfamiliar titles have been discovered.
LOS ANGELES -- Any kid can play a war hero. But it takes a real man to play a busted-down real estate salesman. Al Pacino has been preparing for years for a role like Ricky Roma, one of the losers in "Glengarry Glen Ross," and as Ricky looks around the shabby office that represents his world, you can see the anger in his tired eyes. Perhaps that rage was once the fire of zeal, joy, dedication. Now it simply reflects his refusal to be counted out.